With her impeccably beautiful tone and Vogue-cover elegance Anne-Sophie Mutter could simply play safe as a top-earning concerto soloist. But one thing Mutter can't resist is a challenge . . . [Rihm]: Mutter plays with a lovely, rapturous tone . . . The ending, which seems to withdraw into the heights, is rendered by soloist and orchestra with perfect grace . . . [Currier]: Mutter seizes on the music's intriguing way of juxtaposing glacial slowness and dancing energy, and the orchestra under Alan Gilbert is equally deft . . . two enjoyable duets for violin and double bass . . . in which Mutter's brilliance meets its match in bass player Roman Patkoló.

. . . [Currier's "Time Machines"]: Mutter's sound is the motivating force, as well as the compelling virtuosity of the New York Philharmonic ¿ a legend that continues to evolve in exciting ways. Alan Gilbert leads the orchestral forces with intensity, drive and total commitment.

Record Review /
Chris Hathaway ,
NPR (Houston) / 03. October 2011

Mutter plays like an angel, with a ravishing tone and absolute control, confident that this music is a thing of beauty . . . The musicianship at work here, in each of these challenging pieces, is amazing. The New York Philharmonic, under both conductors sounds fresh and incisive, and Roman Patkoló is a virtuoso bassist. Mutter is at the top of her game . . . listen to the music, and discover what these scores have to offer.